This gentleman carried purism to almost extravagant9 lengths. He objected to the customary pronunciation of “jew's-harp,” insisting that the word should be “juice-harp,” and instructing the actor who mentioned this innocent instrument of melody to write it down so in his script. When the dress rehearsal10 came round, he was surveying the “set” for the first act with considerable complacence. This scenery was intended to represent a very ancient English inn at Stratford-on-Avon, and one of the authors was heard to remark softly that it looked more like a broker's office on Wall Street. But the director was unshaken. “There's an old English inn up at Larchmont,” said he, “and this looks a good deal like it, so I guess we're all right.”
Let any one who imagines the actor's life is one of bevo and skittles sally along with a new play on its try-out in the one-night circuit. When one sees the[Pg 20] delightful11 humour, fortitude12, and high spirits with which the players face their task he gains a new respect for the profession. It is with a sense of shame that the wincing13 author hears his lines repeated night after night—lines that seem to him to have grown so stale and disreputably stupid, and which the ingenuity14 of the players contrives15 to instill with life. With a sense of shame indeed does he reflect that because one day long ago he was struck with a preposterous16 idea, here are honest folk depending on it to earn daily bread and travelling on a rainy day on a local train on the Central New England Railway; here are 800 people in Saratoga Springs filing into a theatre with na?ve expectation on their faces. Amusing things happen faster than he can stay to count them. A fire breaks out in a cigar store a few minutes before theatre time. It is extinguished immediately, but half the town has rushed down to see the excitement. The cigar store is almost next door to the theatre, and the crowd sees the lighted sign and drops in to give the show the once-over, thus giving one a capacity house. Then there are the amusing accidents that happen on the stage, due to the inevitable17 confusion of one-night stands with long jumps each day, when scenery and props18 arrive at the theatre barely in time to be set up. In the third act one of the characters has to take his trousers out of a handbag. He opens the bag, but by some error no garments are[Pg 21] within. Heavens! has the stage manager mixed up the bags? He has only one hope. The girlish heroine's luggage is also on the stage, and our comedian19 dashes over and finds his trousers in her bag. This casts a most sinister20 imputation21 on the adorable heroine, but our friend (blessings on him) contrives it so delicately that the audience doesn't get wise. Then doors that are supposed to be locked have a habit of swinging open, and the luckless heroine, ready to say furiously to the hero, “Will you unlock the door?” finds herself facing an open doorway22 and has to invent a line to get herself off the stage.
Going on the road is a very humanizing experience and one gathers a considerable respect for the small towns one visits. They are so brisk, so proud in their local achievements, so prosperous and so full of attractive shop-windows. When one finds in Johnstown, N. Y., for instance, a bookshop with almost as well-assorted a stock as one would see here in Philadelphia; or in Gloversville and Newburgh public libraries that would be a credit to any large city, one realizes the great tide of public intelligence that has risen perceptibly in recent years. At the hotel in Gloversville the proprietress assured us that “an English duke” had just left who told her that he preferred her hotel to the Biltmore in New York. We rather wondered about this English duke, but we looked him up on the register and found that he was Sir H. Urnick of Fownes Brothers, the glove manu[Pg 22]facturers, who have a factory in Gloversville. But then, being a glove manufacturer, he may have been kidding her, as the low comedian of our troupe23 observed. But the local pride of the small town is a genial24 thing. It may always be noted25 in the barber shops. The small-town barber knows his customers and when a strange face appears to be shaved on the afternoon when the bills are announcing a play, he puts two and two together. “Are you with that show?” he asks; and being answered in the affirmative (one naturally would not admit that one is merely there in the frugal26 capacity of co-author, and hopes that he will imagine that such a face might conceivably belong to the low comedian) he proceeds to expound27 the favourite doctrine28 that this is a wise burg. “Yes,” he says, “folks here are pretty cagy. If your show can get by here you needn't worry about New York. Believe me, if you get a hand here you can go right down to Broadway. I always take in the shows, and I've heard lots of actors say this town is harder to please than any place they ever played.”
One gets a new viewpoint on many matters by a week of one-night stands. Theatrical billboards29, for instance. We had always thought, in a vague kind of way, that they were a defacement to a town and cluttered30 up blank spaces in an unseemly way. But when you are trouping, the first thing you do, after registering at the hotel, is to go out and scout[Pg 23] round the town yearning31 for billboards and complaining because there aren't enough of them. You meet another member of the company on the same errand and say, “I don't see much paper out,” this being the technical phrase. You both agree that the advance agent must be loafing. Then you set out to see what opposition32 you are playing against, and emit groans33 on learning that “The Million Dollar Doll in Paris” is also in town, or “Harry Bulger's Girly Show” will be there the following evening, or Mack Sennett's Bathing Beauties in Person. “That's the kind of stuff they fall for,” said the other author mournfully, and you hustle34 around to the box office to see whether the ticket rack is still full of unsold pasteboard.
At this time of year, when all the metropolitan35 theatres are crowded and there are some thirty plays cruising round in the offing waiting for a chance to get into New York and praying that some show now there will “flop,” one crosses the trail of many other wandering troupes36 that are battering37 about from town to town. In remote Johnstown, N. Y., which can only be reached by trolley38 and where there is no hotel (but a very fine large theatre) one finds that Miss Grace George is to be the next attraction. On the train to Saratoga one rides on the same train with the Million Dollar Doll, and those who have seen her “paper” on the billboards in Newburgh or Poughkeepsie keep an attentive[Pg 24] optic open for the lady herself to see how nearly she lives up to her lithographs39. And if the passerby40 should see a lighted window in the hotel glimmering41 at two in the morning, he will probably aver42 that there are some of those light-hearted “show people” carousing43 over a flagon of Virginia Dare. Little does he suspect that long after the tranquil44 thespians45 have gone to their well-earned hay, the miserable46 authors of the trying-out piece may be vigiling together, trying to dope out a new scene for the third act. The saying is not new, but it comes frequently to the lips of the one-night stander—It's a great life if you don't weaken.
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1 trouping | |
巡回演出(troupe的现在分词形式) | |
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2 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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3 humility | |
n.谦逊,谦恭 | |
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4 accomplished | |
adj.有才艺的;有造诣的;达到了的 | |
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5 disposition | |
n.性情,性格;意向,倾向;排列,部署 | |
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6 inaccurate | |
adj.错误的,不正确的,不准确的 | |
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7 balked | |
v.畏缩不前,犹豫( balk的过去式和过去分词 );(指马)不肯跑 | |
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8 mentor | |
n.指导者,良师益友;v.指导 | |
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9 extravagant | |
adj.奢侈的;过分的;(言行等)放肆的 | |
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10 rehearsal | |
n.排练,排演;练习 | |
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11 delightful | |
adj.令人高兴的,使人快乐的 | |
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12 fortitude | |
n.坚忍不拔;刚毅 | |
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13 wincing | |
赶紧避开,畏缩( wince的现在分词 ) | |
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14 ingenuity | |
n.别出心裁;善于发明创造 | |
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15 contrives | |
(不顾困难地)促成某事( contrive的第三人称单数 ); 巧妙地策划,精巧地制造(如机器); 设法做到 | |
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16 preposterous | |
adj.荒谬的,可笑的 | |
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17 inevitable | |
adj.不可避免的,必然发生的 | |
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18 props | |
小道具; 支柱( prop的名词复数 ); 支持者; 道具; (橄榄球中的)支柱前锋 | |
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19 comedian | |
n.喜剧演员;滑稽演员 | |
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20 sinister | |
adj.不吉利的,凶恶的,左边的 | |
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21 imputation | |
n.归罪,责难 | |
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22 doorway | |
n.门口,(喻)入门;门路,途径 | |
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23 troupe | |
n.剧团,戏班;杂技团;马戏团 | |
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24 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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25 noted | |
adj.著名的,知名的 | |
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26 frugal | |
adj.节俭的,节约的,少量的,微量的 | |
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27 expound | |
v.详述;解释;阐述 | |
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28 doctrine | |
n.教义;主义;学说 | |
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29 billboards | |
n.广告牌( billboard的名词复数 ) | |
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30 cluttered | |
v.杂物,零乱的东西零乱vt.( clutter的过去式和过去分词 );乱糟糟地堆满,把…弄得很乱;(以…) 塞满… | |
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31 yearning | |
a.渴望的;向往的;怀念的 | |
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32 opposition | |
n.反对,敌对 | |
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33 groans | |
n.呻吟,叹息( groan的名词复数 );呻吟般的声音v.呻吟( groan的第三人称单数 );发牢骚;抱怨;受苦 | |
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34 hustle | |
v.推搡;竭力兜售或获取;催促;n.奔忙(碌) | |
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35 metropolitan | |
adj.大城市的,大都会的 | |
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36 troupes | |
n. (演出的)一团, 一班 vi. 巡回演出 | |
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37 battering | |
n.用坏,损坏v.连续猛击( batter的现在分词 ) | |
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38 trolley | |
n.手推车,台车;无轨电车;有轨电车 | |
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39 lithographs | |
n.平版印刷品( lithograph的名词复数 ) | |
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40 passerby | |
n.过路人,行人 | |
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41 glimmering | |
n.微光,隐约的一瞥adj.薄弱地发光的v.发闪光,发微光( glimmer的现在分词 ) | |
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42 aver | |
v.极力声明;断言;确证 | |
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43 carousing | |
v.痛饮,闹饮欢宴( carouse的现在分词 ) | |
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44 tranquil | |
adj. 安静的, 宁静的, 稳定的, 不变的 | |
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45 thespians | |
n.演员( thespian的名词复数 );悲剧演员 | |
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46 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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